Tag Archives for " drum recording "
When it comes to your drum sound, sometimes the smallest details can make a big difference when you consider that there are usually multiple mics involved. Changing one thing can sometimes make a difference, but sometimes it’s the fact that many small adjustments have a cumulative effective on the overall sound. Here are 7 tips culled from The Recording Engineer’s Handbook 3rd edition that can individually or together improve your recorded drum sound.
1. Microphones aimed at the center of the drum will provide the most attack. For more body or ring, aim it more towards the rim.
2. The best way to hear exactly what the drum sounds like when doing a mic check is to have the drummer hit the drum about once per second so there’s enough time between hits to hear how long the ring is.
3. Try to keep any mics underneath the drums at a 90 degree angle to the mic on top to keep the acoustic phase shift to a minimum.
4. Most mics placed underneath the drums will be out of phase with the tops mics. Switch the polarity on your preamp, console or DAW and choose the position that has the most bottom end.
5. Try to keep all mics as parallel as possible to keep the acoustic phase shift to a minimum.
6. The main thing about mic placement on the drums is to place the mics in such a way where the drummer never has to be concerned about hitting them.
7. The ambient sound of the room is a big part of the drum sound. Don’t overlook using room mics where possible.
The above tips can generally apply to just about any drum miking setup, but remember to listen carefully after each adjustment to note the difference, if any, that occurs, then make sure it fits with the track.
You can read more from The Recording Engineer’s Handbook and my other books on the excerpt section of bobbyowsinski.com.
Simon Phillips is one of the best drummers in the world and has the resume to prove it. From Jeff Beck to The Who to Judas Priest to being a member of Toto and a prolific session drummer, Simon is well respected for not only his playing, but his drum and recording acumen as well.
Here’s a video from Simon’s studio in Los Angeles where he discusses his thoughts on drum miking and equalization. I especially liked the explanation of how he treated and miked his bass drums, and that comes at around 17 minutes into the video.
It should be noted that Simon has a fairly large kit with lots of toms and multiple snare drums, but the information he shares is pretty basic and works with a kit of any size.[Photographer: Mark Regemann, Germany (german user Jorainbo2001)]
Drum recording is too often left to trial and error to when getting sounds. Here’s a checklist from the 2nd edition of my Drum Recording Handbook (written with Dennis Moody) that makes sure that the basics are covered (assuming that the drums sound great acoustically) before you open up the mics.
“Like the foundation of a house, the drums are the foundation of a recording. With a strong foundation, you can build almost anything on it that you or your clients can imagine. A little effort and time spent miking the drums and getting the sound just right can result in a recording that sounds better than you would have ever imagined.
Remember, take risks, experiment, take notes on what works and what doesn’t, be creative, and most of all, have fun!
Here’s a list of things to check if something just doesn’t sound right. Remember that each situation is different and ultimately the sound depends upon the drums, the drummer, the room, the song, the arrangement, the signal chain, and even the other players. It’s not unusual to have at least one of these things out of your control.
☐ Are the mics acoustically in phase? Make sure that tom mics and room mics are parallel to each other. Make sure that any underneath mics are at a 45° angle to the top mics.
☐ Are the mics electronically in phase? Make sure that any bottom mics have the phase reversed. Make sure that all the mic cables are wired the same by doing a phase check.
☐ Are the mics at the correct distance from the drum? If they’re too far away they’ll pick up too much of the other drums. If they’re too close the sound will be unbalanced with too much attack or ring.
☐ Are the drum mics pointing at the center of the head? Pointing at the center of the drum will give you the best balance of attack and fullness.
☐ Are the cymbal mics pointed at the bell. If the mic is pointed at the edge of the cymbal, you might hear more air “swishing” than cymbal tone.
☐ Is the high-hat mic pointed at the middle of the hat? Too much towards the bell will make the sound thicker and duller. Too much towards the edge will make the sound thinner and pick up more air noise.
☐ Are the room mics parallel? If you’re using two room mics instead of a stereo mic to mic the room, make sure that the mics are on the same plane and are exactly parallel to each other. Also make sure that they’re on the very edge of the kit looking at the outside edge of the cymbals.
☐ Does the balance of the mix sound the same as when you’re standing in front of the drums? This is your reference point and what you should be trying to match. You can embellish the sound after you’ve achieved this.
These are not hard and fast rules, just a starting place. If you try something that’s different from what you’ve read and it sounds good, it is good!”
You can read more from The Drum Recording Handbook and my other books on the excerpt section of bobbyowsinski.com.
Probably the single most troublesome instrument when it comes to recording is the drum kit. Engineers obsess over the drum sound, and well they should since the drums are the heartbeat of virtually all modern music. It’s a fact that drums that sound small in the track will make the rest of the track sound small as well, regardless of how well everything else is recorded. The drum recording must go well and a great sound kit is the first step.
While it’s true that different people have different ideas of what constitutes a great sounding drum kit, in the studio it usually means a kit that’s well-tuned and free of buzzes and sympathetic vibrations. Free of sympathetic vibrations means that when you hit the snare drum, for instance, the toms don’t ring along with it. Or if you hit the rack toms, the snare and the other toms don’t ring along as well.
The way to achieve this is all in the tuning and the kit maintenance. Here’s a simple checklist from The Recording Engineer’s Handbook that outlines how to get a drum kit up to speed before you even set up any mics.
If the drum kit sounds great in the room, it’s that much easier for it to sound great when recorded. Spend whatever time is required to get your kit to work acoustically and your drum recording will greatly benefit.
You can read more from The Mixing Engineer’s Handbook and my other books on the excerpt section of bobbyowsinski.com.